Tag Archives: saigon

In the Streets of Saigon 在西贡,一个人的好天气

February 18, 2019 2019年2月18日

A woman walks past a smoky food cart, turning to hear a vendor a few yards away who appears to be calling out to her. It’s an ordinary scene on an unremarkable street corner in Saigon, but the composition has an accidental perfection: a triangle formed by the lamppost and the rays of sun frame the central figures, whose two faces are separated only by a narrow strip of color. Above them, billows of smoke from the grill suffuse the scene with an otherworldly light. The snapshot seems to conjure a whole social world and elevate to some higher, more ethereal realm. This is street photography at its most eloquent.


一个女人正走过一台热气蒸腾的食物摊车,她转过头去,似乎在回应站在几米外的小贩的呼喊——这是发生在越南西贡 (胡志明市)街边一个极为平常的日常场景,但画面的构图却意外的完美:由灯柱和光束所构成的三角形舞台,正中央是面孔被光线照射的明暗区分开来的主角人物。在他们之上,烤架升起的烟雾弥漫四方,化为一片超凡脱俗的光芒。这张照片抓取到了凡世的一瞬,并将其升华至更空灵的境界。这就是街头摄影叙事张力的极致展现。

Phuong Tran, the Saigon-based photographer who took this photo, is largely self-taught. A copywriter by day, he started taking pictures simply because he had a smartphone and decided to play around with it. “Back in the day, I’d go around Saigon and take pictures of whatever I liked,” he recalls. “I just captured things, and it brought me a lot of fun.”


拍摄这张照片的是自学成才的摄影师 Phuong Tran。他生活在西贡,全职工作是一名文案,会开始拍照仅仅是因为他买了一支智能手机,想要摸索一下而已。“白天的时候,我会在西贡四处乱逛,拍下我喜欢的照片。我只是想捕捉住一些时刻,这个过程很有趣。”他回忆道。

Like many other amateurs, he discovered he had a knack for photography, and that talent quickly turned into an obsession. “It was like another world I could escape to. I thought about it all the time, I began to read materials, and I got praise from friends,” he says. Eventually he decided to upgrade to a mirrorless camera, which allowed him more control over the shots he took. He now shoots with a Sony Alpha 6000, and easy-to-use model that suits his needs.


像许多业余的摄影爱好者一样,他发现了自己在摄影方面的天赋。很快这种天赋演变成为他的热爱。“摄影是我可以躲进的另一个世界。我无时无刻都想拍照,于是我开始阅读相关的资料,朋友也对我的作品给予很多肯定。”最终,他决定从手机升级到微单相机,这让他在拍摄时能有更多掌控。现在,他用的是一台索尼 Alpha 6000 相机。这是一台操作简单的相机,正符合他的需求。

Tran’s work has earned him a devoted following on Instagram. “The most important thing I want to capture in a photograph is the connection between myself and the subject,” he explains. “If that event brings me excitement, or a thrill, or gives me pause—well, that’s something worth capturing. Then comes the question of light, colors, composition, etc., to tell the story in a beautiful way.” Many of his images show light refracted or reflected—piercing smoke, streaming through windows, or blurring background and foreground in a shop window.


Phuong Tran 的作品为他赢得了 Instagram 上一批忠实的粉丝。“一张照片最重要的是要捕捉到我和被摄者之间的连结。”他解释说,“如果某件事物让我感到兴奋、激动,或让我为此停留,那就值得拍下来。再来就是光线、色彩、构图的问题,如何通过好看的画面来讲述故事。”他的许多照片都利用烟雾、窗户等物体来表现光线的折射或反射,或是透过玻璃橱窗模糊背景和前景。

While he’s also taken photos in Burma and Taiwan—where the above image is from—his favorite subject is still Vietnam, and especially his hometown Saigon. Its “messy streets, strange people, and changing appearance” have inspired him since he first started pointing and clicking. His Saigon is a city of bicycles, scooters, overhead wires, its buildings comfortably weathered and daubed in a ubiquitous turquoise.


曾在缅甸和台湾(上面这张照片的拍摄地)拍摄,他最喜欢的拍摄地依然是越南,尤其是他的家乡西贡。这座城市“杂乱的街道、陌生的人和不断变化的市景”都是他至今的灵感泉源。他镜头下的西贡充满自行车、摩托车和高架电线,这里的建筑也披上了一层赏心悦目的绿松石色。

It’s also a city that’s changing quickly. “Just like other Asian cities, Saigon has its own conflict between preservation and development,” Tran says. “Every day I witness the replacement of old by the new, and I think I need to capture these images before they’re gone, to give them a second life.”


这也是一座变化快速的城市。他说:“和其它亚洲城市一样,西贡也面临着发展和保护的两难困境。我每天见证着新旧的交替,我想趁着这些画面消失之前,将它们记录下来,给予它们第二次生命。”

Websitephuongtran.format.com
Instagram: @deewonderer

 

Contributor: Allen Young
Chinese Translation: Olivia Li


网站phuongtran.format.com
Instagram: @deewonderer

 

供稿人: Allen Young
英译中: 李秋群

Sigh, Gone “你”能放过我吗?

February 1, 2019 2019年2月1日

 

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Sigh Gone is a new film by writer-director Jeannie Nguyen and cinematographer Andrew Yuyi Truong, the filmmakers behind First Generation. The duo’s latest storytelling effort takes them to their parents’ home country of Vietnam, where with help from local producers at BLAZE they’ve crafted a love story with a contemporary twist.


《Sigh Gone》是由导演 Jeannie Nguyen 和摄像师 Andrew Yuyi Truong 拍摄的一部新电影,他们也是《First Generation》的导演。这对拍档的新电影讲述了一个他们父母的祖国越南的故事,在那里,在 BLAZE 当地制作人的帮助下,他们创作了一个具有当代特色的爱情故事。

The short film centers on Thuy, a girl who’s desperately trying to get over a recent heartbreak. Alone at home and unable to quiet her restless mind, she decides to go for a ride on her scooter. But as she cruises through the bustling streets of Saigon, she discovers there’s no use hiding from her emotions. Her grief is even echoed by lyrics inscribed on the back of her motorcycle helmet. The quote, penned by Vietnamese musician Trinh Cong Son, translates to, “Not all that is lost is forgotten.”


这部短片以一个正在拼命试图从最近的心碎经历中走出来的女孩 Thuy 为中心,影片描述了她一个人在家,无法平静她的心绪不宁,于是决定骑上她的机车去兜风。但当她在西贡熙熙攘的街道上穿行时,她发现隐瞒自己的感情是没有用的。她的悲伤和印在摩托车头盔背面的歌词所呼应,那是越南音乐家 Trinh Cong Son 的原话:失而不忘。Not all that is lost is forgotten.

As her day drags on, the bereaved protagonist’s heartache goes from bad to worse—she can’t even make even simple decisions, like where to go and what to eat. To make matters worse, she realizes she’s completely forgotten about a friend’s birthday, and when she rushes over with a cake to make amends, the neighbors tell Thuy no one’s home, and chastise her for being a terrible friend.


随着时间的流逝,失去所爱的 Thuy 的心痛愈发加剧,她甚至不能做出简单的决定,比如去哪里、吃什么。更糟糕的是,她完全忘了朋友的生日。当她匆忙拿着一块蛋糕去赔罪时,邻居们跟她说根本没人在家,且指责她是个糟糕的朋友。

Thuy heads home feeling even more defeated than before. But as she pulls up to her apartment, she finds a welcomed surprise: her lost love is there waiting for her—an iPhone that she left at a friend’s place.


回家后的 Thuy 感觉比之前更沮丧了。但当她把车在公寓停好后,她发现了一个惊喜:她丢失的“挚爱”在那里等着她——她的 iPhone,曾留在了一个朋友家的 iPhone。

Sigh Gone turns out not to be a story of lost love after all, but a commentary on our obsession with smartphones. While it’s a lighthearted take on the subject, there is something bleakly familiar about this portrayal of our modern consumption habits. For many viewers, the anxiety and frustration of not having our smartphones within arm’s reach may hit a little too close to home.


Sigh Gone》原来说的并非一个关于失去爱人的故事,而是对我们对智能手机的痴迷现象。虽然这个话题令人轻松愉快得多,但在对我们现代消费习惯的描述中,的确存在着一些令人沮丧的事实。对许多观众来说,手机只要一离开就在我们几步之遥,我们就会感到焦虑和沮丧。

Alongside technology codependency, the film also touches on the double-edged nature of social media. “To be honest, it’s a little scary that today’s young people have never experienced life outside social media,” Nguyen says. “While these platforms can be great tools to make connections with and be exposed to art and culture from around the world, they’re more frequently highlight reels for people’s lives. It’s inauthentic, but young people don’t process that. It can be detrimental to their psyche.”

At one point in the film, Thuy asks herself, “What’s the point of creating memories if they’re not shared?” This question takes on a different meaning when it becomes clear that she’s referring to Facebook. What seems like a wistful question becomes a damning critique of our need to be constantly plugged into these digital feeds. With the ubiquity of smartphones and our ever-increasing screen time, Sigh Gone poses a tough question: are we living our own lives anymore, or are we too busy living vicariously through our devices?


除了科技与人的共生关系,这部电影还涉及了社交媒体的双刃性质。“老实说,现在的年轻人在社交媒体之外从来没有体验过生活,这有点吓人。” Nguyen 说,“尽管这些平台可以成为连接世界各地的艺术文化,并成为与之接触的绝佳工具,但它们通常只是起了强调人们生活的作用。这不是真实的,但是年轻人不会接受。这对他们的精神是有害的。”

在电影中,Thuy 问自己,如果不能分享,那么创造记忆有什么意义呢?当明确了她所指的是 Facebook 时,这个问题就有了不同的含义。似乎从一个伤感的问题变成了对现代人们捆绑于数媒信息之上的一种严厉批评。随着智能手机的普及、人们屏幕时间的日益增加,《Sigh Gone》提出了一个严峻的问题:我们是在过自己的生活,还是我们忙于通过设备,以间接的方式生活?

Websites:
www.jeanguyen.com
www.andrewyuyitruong.com

Instagrams@jea.nguyen | @a.y.truong

 

Contributor: David Yen
Chinese Translation: Chen Yuan


网站:
www.jeanguyen.com
www.andrewyuyitruong.com

Instagrams@jea.nguyen | @a.y.truong

 

供稿人: David Yen
英译中: Chen Yuan

Under Great Northern Skies

January 2, 2018 2018年1月2日

Quinn Ryan Mattingly is an American freelance photographer and photojournalist who has been based in Vietnam for over a decade. His photojournalism career began in 2009 when he first undertook a photographer position at a magazine in Saigon. Since then, he has taken on assignments for notable clients such as The New York Times, The Washington Post, World Health Organization, and The Global Fund, among many others. In addition to editorial and commercial assignments, Mattingly dedicates himself to a series of personal projects, including his ongoing series, Under Great Northern Skies. Inspired by his first trip to the rural regions of Northern Vietnam in 2007, the project would not officially begin until 2011 when Mattingly became reacquainted with the region on a work assignment. Since then, he has visited the region at least once per year to explore new areas and to create new images. Mattingly tells us more about the series below in his own words.


美国自由摄影师和摄影记者Quinn Ryan Mattingly已经在越南生活了10多年。他的新闻摄影生涯开始于2009年,当时他在西贡一间杂志担任摄影师的工作。从那时起,他开始为许多著名的客户工作,包括《纽约时报》(The New York Times)、华盛顿邮报(The Washington Post)、世界卫生组织和全球基金(The Global Fund)。除了杂志和商业作品,Mattingly还一直致力打造一系列的个人项目,包括他目前正在进行的《Under Great Northern Skies》系列。这个摄影项目的灵感源于他在2007年第一次探访越南北部农村地区的旅程,但项目正式开始是在2011年,当时Mattingly因为工作原因,再次踏足这个地区。从那时起,他每年至少都会到这里一次,去探索新的领域,创作新的影像。以下是有关这个系列Mattingly自己更详细的介绍。

“In my travels, I don’t think I’ve ever found a nation that differs so vastly from north to south as Vietnam. According to my own, admittedly fabricated, lore, I imagine the great hills and sharp peaks of the north as the scaly, rugged head of the dragon. The body winds its way down the majestic panoramas of coastline, ending in a collection of tails in the Mekong Delta.”


“在我的旅行经历中,我从来没见过像越南这样,北部与南部地区差异如此之大的国家。在我的想像中,越南北部的大山和尖峰就像是一条龙布满鳞片、崎岖不平的头,它的身躯沿着雄伟的海岸线,蜿蜒向下,尾巴直达湿润的湄公河三角洲。

“These images, captured on several excursions in the region over the years, are a look at the lives and land of Vietnam’s great North. Busy city streets are nowhere to be found. Instead, bikes barely more durable than scooters ply their way up and down the pastoral slopes on imperfect trails, and trucks wind their way through endless curvature as the roads ascend and fall, all at a snail’s pace compared to the clip of city life. The work that sustains life comes in a much more manual flavor than it does in the cities as well, where even most earn a living only by long days and sweat of the brow. Here, a living can only be borrowed from the soil. Nothing valuable is given without effort.”


“这些照片是我几年来多次到这里旅行时所拍摄的,它们展示了越南北部地区的生活和土地。这里没有繁忙的城市街道。在这里,自行车比摩托车稍稍更耐用,人们骑着自行车沿着充满田园风光的山坡,在小路上来来回回,而货车则顺着蜿蜒的道路左右拐弯,随着路面上下起伏,和城市里的快节奏相比,这里的一切都像是在以蜗牛的速度进行着。比起城市的工作,人们维持生计的工作更多的是手工劳作,大部分人需要以长时间的劳作和汗水来谋生。在这里,生活只能从土壤中获得。没有任何事物可以不费力气就轻易获得。

“And of course the faces are measurably different too. The Kinh language and features so familiar to us who’ve spent time in Vietnam are traded for ethnic features, dress, and cultures in numerous varieties – 54 if I’m not mistaken.”


“越国各地人们的面部特征也是截然不同。我们在越南生活了一段时间,已经十分熟悉京族(Kinh)人的五官特征和语言,但越南各地还有非常多不同的民族,如果我没有记错,应该是有54个民族,它们在民族特色、服装和文化上都非常迥异。

“These hills hold great intrigue for me, offering sights and scenes not found anywhere else in the country, and I will surely make my way back again soon, when I hear the dragon calling myself and my lens away from the city and toward the great northern skies.”


“(越南北部)这些山丘对我来说有着巨大的吸引力,这里有着越南其它地方所没有的风景,我一定还会再回来这里的,当我内心又再一次听到这条‘龙’的呼唤,我会带上我的镜头远离城市,朝着北方的天空出发。”

Websitequinnmattingly.com
Instagram@quinnryanmattingly

 

Contributor: George Zhi Zhao


网站quinnmattingly.com
Instagram@quinnryanmattingly

 

供稿人: George Zhi Zhao

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Saigon Emoji

August 30, 2017 2017年8月30日

Emojis have become an indispensable part of modern communication, allowing people to easily convey their feelings and thoughts at the mere click of a button. In 2015, to the surprise of many, the “Face with Tears of Joy” emoji was even selected as Oxford Dictionaries Word of the Year. Seeing this, Saigon-based designer Maxk Nguyn had an idea: “Why don’t I mix those tech icons with symbols of daily life in Saigon?” This light bulb moment culminated into the Saigon Emoji project. From streetside fruit vendor selling baskets of Instagram likes and Facebook Reactions to old mailboxes with unread notifications and a street cleaner sweeping away the past hour’s internet browsing history, Nguyễn’s fun series embeds these familiar digital symbols and emojis with photos of Saigon locals as a way of presenting the city and its stories through a universal language.


近年来,Emoji表情符号成为了现代人沟通过程中一个不可缺少的元素,一些无法用语言表达的想法或情感却可以用一个emoji符号轻松传递。emoji的喜极而泣符号更是在2015年的时候破天荒地成为了英国牛津字典的年度风云词汇。听到这则新闻,来自越南西贡 (胡志明市)的设计师 Maxk Nguyễn冒出了一个想法:当这种简单的数位图画影像和西贡的生活景象结合在一起,结果会是怎样? 《Saigon Emoji》就此诞生。坐在路边贩售水果的越南阿姨,果篮里装满的却是爱心和点赞符号;老房子的旧式信箱右上角冒出红色的未读邮件数字;清道夫的扫把下是上一小时的网络浏览记录。Nguyễn将这些数位符号带入西贡人的日常生活中,用emoji这个无国界之分的语言,讲着他家乡的故事。

Instagram@maxknguyen
Behance~/maxknguyen
Facebook: ~/Maxknguyen91

 

Contributor: Ye Zi


Instagram@maxknguyen
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脸书~/maxknguyen91

 

供稿人: Ye Zi

Behind the Shoulders of Saigon

April 5, 2017 2017年4月5日

Students in uniform heading home after a day of classes, riding on the back of their parent’s motorcycles; a cyclist delivering takeout, masterfully steering with one hand and balancing a tray of steaming hot food on the other; and a pickup truck loaded with furniture heading to their third destination of the day. These are all-too-common scenes in the busy streets of Ho Chi Minh City, and graphic designer Maxk Nguyen revels in this frenetic energy. Finding inspiration in this hustle and bustle, Nguyen and his team created the Sài Gòn sau vai, which presents unconventional portraits of the city’s busy inhabitants as a series of beautiful illustrations. “Here in Saigon, every time I step out into the street, I see someone’s back. Even though I do not see their faces, they all bring me endless inspirations.”


放学后跨上摩托车顺路回家的同班同学,一手把着方向盘一手举着托盘穿梭在人群里的“外卖高手”,满载家具的小货车一脚油门赶往今天的第三个目的地。这座城市到处都是匆匆而过的人,还没留意看清楚,就已经从你旁边擦身而过了。居住在越南胡志明市的设计师Maxk Nguyen,钟情于这些匆忙的背影,他选择了这个与容易被人忽略的角度,和他的团队一起创作了这个名为《Sài Gòn sau vai》插画作品。“在西贡,我每次走上街,眼前仿佛都是一个个或匆忙或优雅的背影,虽然我不曾看清他们的正脸,但这些背影也给我带来了无限的想象。”

Instagram:
@maxknguyen
@8rebornstudio

Behance:
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~/8Rebornstu3829

Facebook:~/ Maxknguyen91

 

Contributor: Ye Zi 


Instagram:
@maxknguyen
@8rebornstudio

Behance:
~/maxknguyen
~/8Rebornstu3829

脸书~/ Maxknguyen91

 

供稿人: Ye Zi

The Art of Collecting

May 6, 2016 2016年5月6日

 

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Meet Kumkum Fernando, an artist who expresses his creativity through very unlikely means – by collecting seemingly random objects. His personal bio proudly states, “as far as he could remember, he had been a collector. Be it stones, spoons, bottle caps, ostrich eggs, and much more.” By reinterpreting the intended functions of these common everyday objects, Kumkum is able to combine them cohesively into something completely new. He takes these ordinary items, and through a process of meticulous rearrangement, transforms them into quirky unexpected pieces of art.

Born and raised in Sri Lanka, Kumkum was fascinated with collecting random objects even as a child. Despite having no real purpose for collecting these things, he just considered it something fun to do. As he grew older, Kumkum finally realized why he was so fascinated with collecting these random objects. He was intrigued by their untold stories: where they were from, who could have used them, and where they had been. Neocha recently had the opportunity to speak with Kumkum about his inspirations and creative approach.

Neocha: Tell us a bit about who you are as an artist, and the general concept and philosophy behind your work.

Kumkum: My work is about capturing the beauty and mystery of the forgotten, by telling stories that will bring them to life. I have always made art, even at a very young age. However, I only took it seriously about ten years ago, that was when I started investing money to collect more expensive objects and equipment. Even though it was only a hobby at first, I became more serious about it after receiving requests for a few commissioned projects. So I took my hobby out of my bedroom and into an actual workshop. Since my first show, things have been gaining momentum. I am in the process of putting together a team and establishing an even bigger workshop in order to create more complicated pieces of work.

 

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Neocha: What inspired the idea of combining your collection of items together into pieces of art?

Kumkum: I’m inspired by a sense of longing – it can be a longing for something or someone. It’s actually quite sad, but I’m inspired by it. For me, bringing these objects together is like bringing lovers together, who if left alone in the real world would never meet. After I realized this, the entire process became quite addictive, so that’s why I kept doing it.

Neocha: How does Sri Lanka influence your work?

Kumkum: Sri Lanka is filled with many mysterious tales that everyone there grew up listening to – from demon kings, to giants, to strange flying machines, and magical hidden treasures. These strange and magical tales definitely influenced me. I would say I try to capture a bit of Sri Lanka in every piece of my work.

Neocha: Those magical Sri Lankan childhood tales that you grew up with sound intriguing. So how would you say your childhood has affected your work?

Kumkum: When I was a child, my grandmother used to wake me up early in the morning and take me for walks around her garden. She used to tell me all these magical stories about fairies, singing trees, and fireflies as we slowly took our stroll. Sadly, I have forgotten most of the stories, but I know how I felt when I heard them. I attempt to capture that very same feeling when I make my art. I want people to feel a sense of magic and mystery when they see my artwork.

Neocha: Would you mind telling us more Kiko’s Secrets and Mr. Bastian The Time Traveller?

Kumkum: Mr. Bastian The Time Traveller  was my very first show. It was held in November 2014 at the Ho Chi Minh City Museum of Fine Arts. All of the artwork in the show was created around quotes from a journal. One of my favorite quote is, “the color of time is yellow, I feel like I have eaten everything in the universe, sometimes windows are better than what’s on the outside.”

Kiko’s Secret was commissioned by the Singapore Art Museum, which was a part of SG50.  I was asked to create a concept for a story that would inspire children to become interested in contemporary art. The entire concept stemmed from the idea of this phrase, “the moon must travel twenty times around the sun before you can tell these secrets to anyone“. The tale was about a boy who keeps a girl’s secrets for twenty years before revealing them to the world.

Neocha: Having worked in Vietnam for so long, and having held exhibitions there as well. Could you share with us what the creative community out there is like?

Kumkum: There’s a growing creative community in Ho Chi Minh City. I notice it growing everyday, from the time I arrived six years back until now. More and more young people are getting into art and music. I get to see portfolios a lot, and the newer portfolios I have been seeing are quite awesome compared to the ones I saw when I first got here.

Neocha: What do you have in the works for the near future?

Kumkum: I’m working on my second solo show at the moment. I’m attempting to create much larger pieces, larger than any other ones I’ve made before. However, it’s taking a lot more time and money than originally anticipated. I expect everything to be finished sometime within the next two or three months.

Website: kumkumfernando.com
YouTube~/kumkumf
Instagram: @kumkumfernando

Contributor: Banny Wang
Images & Videos Courtesy of Kumkum Fernando

District Eight Design

April 11, 2016 2016年4月11日

Ho Chi Minh City is a Vietnamese metropolis in the midst of a developmental-renaissance. Alongside this urban boom, there has been an alarming trend of demolishing historic buildings in recent years. Most of these heritage buildings that are targeted to be torn down were built during the French colonial era, but have deteriorated over the years. These dilapidated structures are being rapidly replaced in favor of modernized buildings that are easier to maintain. Many local architects and like-minded individuals are looking for ways stop this destruction of history and culture. One of those individuals is Darren Chew, the founder of District Eight Design.


Thành phố Hồ Chí Minh là một đô thị đầu mối trung tâm của Việt Nam và hiện đang ở giai đoạn phát triển mạnh mẽ. Bên cạnh việc bùng nổ đô thị hóa, trong những năm gần đây xu hướng phá hủy những tòa nhà có giá trị lịch sử đã đến mức báo động. Những tòa nhà xây thời thuộc địa Pháp có giá trị di sản lớn nhưng bị hư hỏng suốt nhiều năm là đối tượng để dỡ bỏ. Những cấu trúc đã mục nát đang được thay nhanh chóng bằng những tòa nhà hiện đại và dễ bảo dưỡng hơn. Những kiến trúc sư và các cá nhân có cùng quan điểm với họ đang tìm cách ngăn việc phá hủy văn hóa lịch sử này. Một trong những người đó là Daren Chew, người sáng lập District Eight Design.

“One can see an old building needs to be torn down for new development, which solves the public housing issues; but at the same time, others might see the history in such old structures are worth preserving.” Darren neutrally presents both sides of the story, before adding, “We see these old building as historical gems that are worth preserving, as they have stood the test of time and bear with them the stories of their past. These stories are not only of their previous tenants, but also the historical events that occurred in the neighborhood.” It’s this reverence for Vietnamese culture and history that has been the momentum-driving force which eventually culminated in the birth of District Eight Design.


“Có người thì cho rằng là một tòa nhà của cần phải đập bỏ cho sự phát triển, nó giúp giải quyết vấn đề nhà ở nói chung; nhưng cùng lúc lại có người thấy giá trị lịch sử trong những cấu trúc ấy xứng đáng được bảo tồn.” Darren trình bày quan điểm của hai phía một cách trung lập, trước khi bổ sung thêm rằng “chúng tôi coi những tòa nhà này như những viên ngọc của lịch sử và đáng được bảo vệ vì chúng đã trải qua được thử thách của thời gian và mang trong mình những câu chuyện của quá khứ. Những câu chuyện này không phải chỉ của riêng những người chủ trước đây mà còn là những sự kiện lịch sử diễn ra xung quanh.” Chính lòng kính trọng đối với văn hóa và lịch sử Việt Nam đã trở thành động lực và sau cùng đưa đến việc D8 ra đời.

District Eight Design was first started in 2010, after Darren founded L’Usine, a lifestyle cafe. This boutique cafe was to be located in a historical but derelict ballroom that dated back to the early French colonial era. This renovation project resulted in the idea to preserve and restore more of these colonial-era spaces, but besides merely renovating these spaces, Darren’s concept involved creating a collection of industrial furniture that would complement the aesthetics of the restored interior.


District 8 Design bắt đầu lần đầu tiên vào năm 2010, sau khi Darren thành lập quán cà phê phong cách sống L’Usine. Ban đầu cửa hàng này đặt ở một phòng dạ hội có từ thời thuộc địa, nó có giá trị lịch sử nhưng lại vô chủ. Dự án nâng cấp này đưa đến ý tưởng phục hồi nhiều không gian tương tự thời thuộc địa, nhưng bên cạnh việc phục hồi không gian một cách đơn thuần, ý tưởng của Darren còn bao gồm việc có một bộ sưu tập các vật dụng nội thất công nghiệp nào có thể làm tăng tính thẩm mỹ cho không gian bên trong.

Over the last six years, D8 has been continually renovating and designing spaces, their work ranges from quaint coffee shops to modern offices. These same spaces are filled with contemporary furnishings which are also designed by them. D8’s two signature furniture collections, Distrikt and Kahn, are undoubtedly the most successful. The Distrikt collection focuses on the intricacies of wood and joinery, while the Kahn collection involves the innovative use of concrete and combining that with bridge-building engineering techniques. But besides furniture, D8 has been expanding their product line while staying true to the style they’re known for – chic, modern, industrial; and at times, borderline Steampunk. Their products now range from a chess set created with reclaimed hardwood, complete with industrial bolts and nuts as game pieces; to pendant lights created from hand-beaten blackened steel. D8 shows that no matter the product, the end result will always be a well-designed piece that carries with it an air of authenticity and meticulous craftsmanship.


Suốt sáu năm qua D8 đã liên tục phục hồi và thiết kế không gian, từ những quán cà phê độc đáo cho đến văn phòng hiện đại. Những không gian tương tự nhau được trang trí bằng những vật trang trí đương đại, cũng do chính họ thiết kế. Hai bộ sưu tập mang đậm dấu ấn của D8 – Distrikt và Kahn – hiển nhiên là hai bộ sưu tập thành công nhất. Bộ sưu tập Distrikt tập trung vào tính phức tạp của gỗ và các khớp nối, trong khi Kahn là sự cách tân của việc dùng bê tông và phối nó với kỷ thuật xây dựng cầu. Nhưng bên cạnh nội thất thì D8 đã mở rộng dòng sản phẩm của mình cùng lúc vẫn bám sát phong cách riêng làm nên tên tuổi của họ – thanh lịch, hiện đại, công nghiệp và đồng thời có sự phá cách. Từ bàn cờ làm bằng chất liệu gỗ nổi tiếng, hoàn thiện bằng ốc vít kim loại; đến việc làm cẩn thận từng chiếc đèn bằng kim loại đen bóng hoàn toàn thủ công. D8 chứng minh rằng bất kể là sản phẩm gì thì kết quả sau cùng sẽ vẫn là những sản phẩm thiết kế tốt, mang trong mình cái chất tinh tế và rất tuyển chọn của sản phẩm thủ công.

D8 places emphasis on creating well-designed, long-lasting products. This is evident through their strict quality control and material sourcing process. Their mission is to provide their customers an incomparable experience through their designs. Even though their wide range of furniture, games, and lighting fixtures are now available in retailers across the globe, the D8 team continues to draw their inspirations from the ebb-and-flow of daily life in Vietnam. “As designers and makers of things, we always consider our surrounding environment as an unlimited source of inspirations.”


D8 chú trọng vào việc làm ra những sản phẩm tinh sảo và trường tồn. Bằng chứng là D8 có quy trình kiểm tra chất lượng và lấy nguồn nguyên liệu nghiêm ngặt. Sứ mệnh của D8 là mang đến cho khách hàng trải nghiệm không gì sánh được qua những sản phẩm thiết kế của mình. Mặt dù dòng sản phẩm rộng của D8 từ đồ nội thất, bộ trò chơi, thiết bị chiếu sáng đã có mặt ở các nhà bán lẻ trên toàn cầu; đội ngũ của D8 vẫn tiếp tục lấy cảm hứng từ nhịp sống hằng ngày ở Việt Nam, “là nhà thiết kế đồng thời là nhà sản xuất, chúng tôi luôn tâm niệm cuộc sống là nguồn cho sự sáng tạo vô tận.”

Contributor: David Yen

 

Images Courtesy of District Eight Design


Người gửi bài: David Yen

 

Ảnh do District Eight Design cung cấp